Words by John Bleasdale / Artwork [posters] by Nick Ikin Original published in issue #4 _ a tribute to John Waters Act two _ the film [s] that Doesn’t Exist / 10 imaginary films John Waters could have made An original idea conceived by Victor Fraga and DMovies _ the platform for thought-provoking cinema writing and its contents are a piece of fiction as imagined by John Bleasdale poster and their contents are a piece of fiction as imagined by …
John Waters in conversation with Victor Fraga and Alex Babboni In partnership with DMovies _ the platform for thought-provoking cinema Original published in issue #4 / A tribute to John Waters Act four & act six _ the interview [part one / part two] Part One / [Victor Fraga] When we interviewed Peter Greenaway for our penultimate issue, he said “If I was beginning to make films now, I would concentrate on my first ambition, which was to be a painter.” …
Words by Eoghan Lyng / Artwork [posters] by Nick Ikin Original published in issue #5 _ a tribute to Bruce LaBruce Act two _ the film [s] that Doesn’t Exist / 10 imaginary films Bruce LaBruce could have made An original idea conceived by Victor Fraga and DMovies _ the platform for thought-provoking cinema writing and its contents are a piece of fiction as imagined by Eoghan Lyng poster and their contents are a piece of fiction as imagined by …
Bruce LaBruce in conversation with Victor Fraga and Alex Babboni In partnership with DMovies _ the platform for thought-provoking cinema Original published in issue #5 / A tribute to Bruce LaBruce Act three _ the interview [part one / part two] Part One / [Victor Fraga] Can you please tell us how ‘Fixations’ [the exhibition at CASSTL gallery] began and how it landed in Antwerp? [Bruce LaBruce] I’ve known Carla Arocha and Stéphane Schraenen for quite a while now, through …
Michelangelo Antonioni’s visual and emotional grammar [and its repercussions on contemporary cinema]
‘inverted gravity’ _ photography by Victoria Einarsdotter by Susanne Gottlieb Pioneering the visual realisation of modern middle-class alienation, loneliness and existential crisis, Michelangelo Antonioni’s legacy traverses the contemporary cinematic landscape on the triumph of stifling environments and hidden emotions. ‘I’m not against the modern world. For me, this industrial environment symbolises progress. One can’t really be against progress. In any case, there’d be no point.’ In his interview for ‘Red Desert’ [1964] as part of the French television series ‘Les Écrans …